The incandescent light bulb, incandescent lamp or incandescent light globe makes light by heating a metal filament wire to a high temperature until it glows. The hot filament is protected from air by a glass bulb that is filled with inert gas or evacuated. In a halogen lamp, a chemical process that returns metal to the filament prevents its evaporation. The light bulb is supplied with electrical current by feed-through terminals or wires embedded in the glass. Most bulbs are used in a socket (a housing giving mechanical support to the bulb, keeping its terminals in contact with the supply current terminals).

Incandescent bulbs are produced in a wide range of sizes, light output, and voltage ratings, from 1.5 volts to about 300 volts. They require no external regulating equipment and have a low manufacturing cost and work equally well on either alternating current or direct current. As a result, the incandescent lamp is widely used in household and commercial lighting, for portable lighting such as table lamps, car headlamps, and flashlights, and for decorative and advertising lighting.

Some applications of the incandescent bulb use the heat generated by the filament, such as incubators, brooding boxes for poultry, heat lights for reptile tanks, infrared heating for industrial heating and drying processes, and the Easy-Bake Oven toy. In cold weather, the heat produced by incandescent lamps is a benefit as it contributes to building heating, but in hot climates this waste heat increases the energy required by air conditioning systems.

Incandescent light bulbs are gradually being replaced in many applications by other types of electric lights, such as fluorescent lamps, compact fluorescent lamps, cold cathode fluorescent lamps (CCFL), high-intensity discharge lamps, and light-emitting diodes (LEDs). These newer technologies improve the ratio of visible light to heat generation. Some jurisdictions, such as the European Union, are in the process of phasing out the use of incandescent light bulbs in favor of more energy-efficient lighting. In the United States, federal law has scheduled incandescent light bulbs to be phased out by 2014, to be replaced with more energy-efficient light bulbs. In Brazil, they have already been phased out.

History of the light bulb

.]] In addressing the question of who invented the incandescent lamp, historians Robert Friedel and Paul Israel list 22 inventors of incandescent lamps prior to Joseph Wilson Swan and Thomas Edison. They conclude that Edison's version was able to outstrip the others because of a combination of three factors: an effective incandescent material, a higher vacuum than others were able to achieve (by use of the Sprengel pump) and a high resistance that made power distribution from a centralized source economically viable.

Another historian, Thomas Hughes, has attributed Edison's success to the fact that he developed an entire, integrated system of electric lighting.

The lamp was a small component in his system of electric lighting, and no more critical to its effective functioning than the Edison Jumbo generator, the Edison main and feeder, and the parallel-distribution system. Other inventors with generators and incandescent lamps, and with comparable ingenuity and excellence, have long been forgotten because their creators did not preside over their introduction in a system of lighting.

Historian Thomas P. Hughes

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Early pre-commercial research

In 1802, Humphry Davy had what was then the most powerful electrical battery in the world at the Royal Institution of Great Britain. In that year, he created the first incandescent light by passing the current through a thin strip of platinum, chosen because the metal had an extremely high melting point. It was not bright enough nor did it last long enough to be practical, but it was the precedent behind the efforts of scores of experimenters over the next 75 years. In 1809, Davy also created the first arc lamp with two carbon charcoal rods connected to a 2000-cell battery; it was demonstrated to the Royal Institution in 1810.

Over the first three-quarters of the 19th century many experimenters worked with various combinations of platinum or iridium wires, carbon rods, and evacuated or semi-evacuated enclosures. Many of these devices were demonstrated and some were patented.

In 1835, James Bowman Lindsay demonstrated a constant electric light at a public meeting in Dundee, Scotland. He stated that he could "read a book at a distance of one and a half feet". However, having perfected the device to his own satisfaction, he turned to the problem of wireless telegraphy and did not develop the electric light any further. His claims are not well documented, although he is credited in Challoner etal. with being the inventor of the "Incandescent Light Bulb".

In 1840, British scientist Warren de la Rue enclosed a coiled platinum filament in a vacuum tube and passed an electric current through it. The design was based on the concept that the high melting point of platinum would allow it to operate at high temperatures and that the evacuated chamber would contain fewer gas molecules to react with the platinum, improving its longevity. Although an efficient design, the cost of the platinum made it impractical for commercial use.

In 1841, Frederick de Moleyns of England was granted the first patent for an incandescent lamp, with a design using platinum wires contained within a vacuum bulb.

In 1845, American John W. Starr acquired a patent for his incandescent light bulb involving the use of carbon filaments. He died shortly after obtaining the patent, and his invention was never produced commercially. Little else is known about him.

In 1851, Jean Eugène Robert-Houdin publicly demonstrated incandescent light bulbs on his estate in Blois, France. His light bulbs are on permanent display in the museum of the Château de Blois.

In 1872, Russian A. N. Lodygin invented an incandescent light bulb and obtained a Russian privilege. In 1874, he obtained an American patent for his invention. Later he applied and obtained patents for incandescent lamps having molybdenum and tungsten filaments, that were then demonstrated at the Exposition Universelle of 1900 in Paris.

In a suit filed by rivals seeking to get around Edison's lightbulb patent, German-American inventor Heinrich Göbel claimed he developed the first light bulb in 1854: a carbonized bamboo filament, in a vacuum bottle to prevent oxidation, and that in the following five years he developed what many call the first practical light bulb. Despite a successful recreation of his lamp in 1882, Lewis Latimer demonstrated that the bulbs that Göbel had purportedly built in the 1850s, had actually been built much later, and found the glassblower who had constructed the fraudulent exhibits. In a patent interference suit in 1893, the judge ruled Göbel's claim "extremely improbable".

In North America, parallel developments were taking place. On July 24, 1874, a Canadian patent was filed by a Toronto medical electrician named Henry Woodward and a colleague Mathew Evans. They built their lamps with different sizes and shapes of carbon rods held between electrodes in glass cylinders filled with nitrogen. Woodward and Evans attempted to commercialize their lamp, but were unsuccessful. They ended up selling their patent () to Thomas Edison in 1879.

Commercialization

s, approx. 30 watts, left side: running with 100 volts)]] Joseph Wilson Swan (1828–1914) was a British physicist and chemist. In 1850, he began working with carbonized paper filaments in an evacuated glass bulb. By 1860, he was able to demonstrate a working device but the lack of a good vacuum and an adequate supply of electricity resulted in a short lifetime for the bulb and an inefficient source of light. By the mid-1870s better pumps became available, and Swan returned to his experiments.

With the help of Charles Stearn, an expert on vacuum pumps, in 1878, Swan developed a method of processing that avoided the early bulb blackening. This received a British Patent No 8 in 1880. On 18 December 1878, a lamp using a slender carbon rod was shown at a meeting of the Newcastle Chemical Society, and Swan gave a working demonstration at their meeting on 17 January 1879. It was also shown to 700 who attended a meeting of the Literary and Philosophical Society of Newcastle on 3 February 1879. These lamps used a carbon rod from an arc lamp rather than a slender filament. Thus they had low resistance and required very large conductors to supply the necessary current, so they were not commercially practical, although they did furnish a demonstration of the possibilities of incandescent lighting with relatively high vacuum, a carbon conductor, and platinum lead-in wires. Besides requiring too much current for a central station electric system to be practical, they had a very short lifetime. Swan turned his attention to producing a better carbon filament and the means of attaching its ends. He devised a method of treating cotton to produce 'parchmentised thread' and obtained British Patent 4933 in 1880. In 1881, the Savoy Theatre in the City of Westminister, London was lit by Swan incandescent lightbulbs, which was the first theatre, and the first public building in the world, to be lit entirely by electricity.

Thomas Edison began serious research into developing a practical incandescent lamp in 1878. Edison filed his first patent application for "Improvement In Electric Lights" on October 14, 1878. After many experiments with platinum and other metal filaments, Edison returned to a carbon filament. The first successful test was on October 22, 1879, and lasted 13.5 hours. Edison continued to improve this design and by November 4, 1879, filed for a U.S. patent for an electric lamp using "a carbon filament or strip coiled and connected ... to platina contact wires." Although the patent described several ways of creating the carbon filament including using "cotton and linen thread, wood splints, papers coiled in various ways,"

In 1906, the General Electric Company patented a method of making filaments from sintered tungsten and in 1911, used ductile tungsten wire for incandescent light bulbs. The tungsten filament outlasted all other types.

In 1913, Irving Langmuir found that filling a lamp with inert gas instead of a vacuum resulted in twice the luminous efficacy and reduction of bulb blackening. In 1924, Marvin Pipkin, an American chemist, patented a process for frosting the inside of lamp bulbs without weakening them, and in 1947, he patented a process for coating the inside of lamps with silica.

In 1930, Hungarian Imre Bródy filled lamps with krypton gas in lieu of argon. He used krypton and/or xenon filling of bulbs. Since the new gas was expensive, he developed a process with his colleagues to obtain krypton from air. Production of krypton filled lamps based on his invention started at Ajka in 1937, in a factory co-designed by Polányi and Hungarian-born physicist Egon Orowan.

By 1964, improvements in efficiency and production of incandescent lamps had reduced the cost of providing a given quantity of light by a factor of thirty, compared with the cost at introduction of Edison's lighting system

Consumption of incandescent light bulbs grew rapidly in the United States. In 1885, an estimated 300,000 general lighting service lamps were sold, all with carbon filaments. When tungsten filament were introduced, there were about 50 million lamp sockets in the United States. In 1914, 88.5 million lamps were used, (only 15% with carbon filaments), and by 1945, annual sales of lamps were 795 million (more than 5 lamps per person per year).

Cartels

Between 1924 and 1939, the international market for incandescent light bulbs was controlled by the Phoebus cartel, which dictated wholesale prices and whose members controlled most of the world market for lamps.

Efficiency comparisons

(105 W) with an E27 base, intended for direct replacement of a non-halogen bulb]]

Approximately 90% of the power consumed by an incandescent light bulb is emitted as heat, rather than as visible light.

The effectiveness of an electric lighting source is determined by two factors, the relative visibility of electromagnetic radiation, and the rate at which the source converts electric power into electromagnetic radiation.

Luminous efficacy of a light source is a ratio of the visible light energy emitted (the luminous flux) to the total power input to the lamp. Visible light is measured in lumens, a unit which is defined in part by the differing sensitivity of the human eye to different wavelengths of light. Not all wavelengths of visible electromagnetic energy are equally effective at stimulating the human eye; the luminous efficacy of radiant energy is a measure of how well the distribution of energy matches the perception of the eye. The maximum efficacy possible is 683 lm/W for monochromatic green light at 555 nanometres wavelength, the peak sensitivity of the human eye. For white light, the maximum luminous efficacy is around 240 lumens per watt, but the exact value is not unique because the human eye can perceive many different mixtures of visible light as "white".

The chart below lists values of overall luminous efficacy and efficiency for several types of general service, 120-volt, 1000-hour lifespan incandescent bulb, and several idealized light sources. A similar chart in the article on luminous efficacy compares a broader array of light sources to one another.

Unfortunately, the spectrum emitted by a blackbody radiator does not match the sensitivity characteristics of the human eye. Tungsten filaments radiate mostly infrared radiation at temperatures where they remain solid (below 3683 kelvins / 3410 °C / 6,170 °F). Donald L. Klipstein explains it this way: "An ideal thermal radiator produces visible light most efficiently at temperatures around 6300 °C (6600 K or 11,500 °F). Even at this high temperature, a lot of the radiation is either infrared or ultraviolet, and the theoretical luminous efficiency is 95 lumens per watt."

High-quality halogen incandescent lamps have higher efficacy, which will allow a 60-watt bulb to provide nearly as much light as a non-halogen 100-watt bulb. Also, a lower-wattage halogen lamp can be designed to produce the same amount of light as a 600-watt non-halogen lamp, but with much longer life.

Many light sources, such as the fluorescent lamp, high-intensity discharge lamps and LED lamps offer higher efficiency, and some have been designed to be retrofitted in existing fixtures. These devices produce light by luminescence, instead of heating a filament to incandescence. These mechanisms produce discrete spectral lines and so don't have the broad "tail" of wasted invisible infrared emissions produced by incandescent emitters. By careful selection of which electron energy level transitions are used, the spectrum emitted can be tuned to either mimic the appearance of incandescent sources or else produce different color temperatures of white for visible light.

Cost of lighting

The initial cost of an incandescent bulb is small compared to the cost of the energy it uses over its lifetime. A comparison of incandescent lamp operating cost with other light sources must consider the luminous efficacy produced by each lamp. The comparison must include illumination requirements, capital cost of the lamp, labor cost to replace lamps, various depreciation factors for light output as the lamp ages, effect of lamp operation on heating and air conditioning systems, and energy consumption as well.

Measures to ban its use

Due to the higher energy usage of incandescent light bulbs in comparison to more energy efficient alternatives, such as compact fluorescent lamps and LED lamps, many governments have introduced measures to ban their use, by setting minimum efficacy standards higher than can be achieved by general service lamps. However, there has been much resistance to these policies owing to the low cost of incandescent bulbs, the instant availability of light, and possible ill health effects including the problems of mercury contamination with CFLs. Varying and unpredictable quality of current CFLs and LED lamps adds to the resistance.

Efforts to improve efficiency

Due to the measures noted above, there have been recent efforts to improve the efficiency of incandescents. In 2007, the consumer lighting division of General Electric announced a "high efficiency incandescent" (HEI) lamp project, which they claimed would ultimately be as much as four times more efficient than current incandescents, although their initial production goal was to be approximately two times more efficient. The HEI program was quietly terminated in 2008 due to slow progress.

U.S. Department of Energy research at Sandia National Laboratories initially indicated the potential for dramatically improved efficiency from a photonic lattice filament.

Prompted by U.S. legislation mandating increased bulb efficiency by 2012, new "hybrid" incandescent bulbs have been introduced by Philips. The "Halogena Energy Saver" incandescent is 30 percent more efficient than traditional designs, using a special chamber to reflect formerly wasted heat back to the filament to provide additional lighting power.

Construction

Incandescent light bulbs consist of a glass enclosure (the envelope, or bulb) with a filament of tungsten wire inside the bulb, through which an electric current is passed. Contact wires and a base with two (or more) conductors provide electrical connections to the filament. Incandescent light bulbs usually contain a stem or glass mount anchored to the bulb's base that allows the electrical contacts to run through the envelope without gas/air leaks. Small wires embedded in the stem in turn support the filament and/or its lead wires. The bulb is filled with an inert gas such as argon to reduce evaporation and prevent oxidation of the filament.

An electric current heats the filament to typically ), well below tungsten's melting point of . Filament temperatures depend on the filament type, shape, size, and amount of current drawn. The heated filament emits light that approximates a continuous spectrum. The useful part of the emitted energy is visible light, but most energy is given off as heat in the near-infrared wavelengths.

Three-way light bulbs have two filaments and three conducting contacts in their bases. The filaments share a common ground, and can be lit separately or together. Common wattages include 30–70–100, 50–100–150, and 100–200–300, with the first two numbers referring to the individual filaments, and the third giving the combined wattage.

While most light bulbs have clear or frosted glass, other kinds are also produced, including the various colors used for Christmas tree lights and other decorative lighting. Neodymium-containing glass is sometimes used to provide a more natural-appearing light.

{| border="0" | | #Outline of Glass bulb #Low pressure inert gas (argon, neon, nitrogen) #Tungsten filament #Contact wire (goes out of stem) #Contact wire (goes into stem) #Support wires #Stem (glass mount) #Contact wire (goes out of stem) #Cap (sleeve) #Insulation (vitrite) #Electrical contact |}

Many arrangements of electrical contacts are used. Large lamps may have a screw base (one or more contacts at the tip, one at the shell) or a bayonet base (one or more contacts on the base, shell used as a contact or used only as a mechanical support). Some tubular lamps have an electrical contact at either end. Miniature lamps may have a wedge base and wire contacts, and some automotive and special purpose lamps have screw terminals for connection to wires. Contacts in the lamp socket allow the electric current to pass through the base to the filament. Power ratings for incandescent light bulbs range from about 0.1 watt to about 10,000 watts.

The glass bulb of a general service lamp can reach temperatures between . Lamps intended for high power operation or used for heating purposes will have envelopes made of hard glass or fused quartz.

Filament

The first successful light bulb filaments were made of carbon (from carbonized paper or bamboo). Early carbon filaments had a negative temperature coefficient of resistance -- as they got hotter, their electrical resistance decreased. This made the lamp sensitive to fluctuations in the power supply, since a small increase of voltage would cause the filament to heat up, reducing its resistance and causing it to draw even more power and heat even further. In the "flashing" process, carbon filaments were heated by current passing through them, while in an evacuated vessel containing hydrocarbon (gasoline) vapor. The carbon deposited by this treatment improved the uniformity and strength of filaments, and their efficiency. A metallized or graphitized filament was first heated in a high-temperature oven before flashing and lamp assembly; this transformed the carbon into graphite, which further strengthened and smoothed the filament, and as a byproduct had the advantage of changing the lamp to a positive temperature coefficient like a metallic conductor. This helped stabilize power consumption, temperature and light output against minor variations in supply voltage.

In 1902, the Siemens company developed a tantalum lamp filament. These lamps were more efficient than even graphitized carbon filaments and could operate at higher temperatures. Since the metal had a lower resistivity than carbon, the tantalum lamp filament was quite long and required multiple internal supports. The metal filament had the property of gradually shortening in use; the filaments were installed with large loops that tightened in use. This made lamps in use for several hundred hours quite fragile. Metal filaments had the property of breaking and re-welding, though this would usually decrease resistance and shorten the life of the filament. General Electric bought the rights to use tantalum filaments and produced them in the United States until 1913.

From 1898 to around 1905, osmium was also used as a lamp filament in Europe, but the metal was so expensive that used broken lamps could be returned for part credit. It could not be made for 110 V or 220 V so several lamps were wired in series for use on standard voltage circuits.

In 1906, the tungsten filament was introduced. Tungsten metal was initially not available in a form that allowed it to be drawn into fine wires. Filaments made from sintered tungsten powder were quite fragile. By 1910, a process was developed by William D. Coolidge at General Electric for production of a ductile form of tungsten. The process required pressing chemically produced tungsten powder into bars, then several steps of sintering, swaging, and then wire drawing. It was found that very pure tungsten formed filaments that sagged in use, and that a very small "doping" treatment with potassium, silicon, and aluminum oxides at the level of a few hundred parts per million greatly improved the life and durability of the tungsten filaments.

To improve the efficiency of the lamp, the filament usually consists of coils of coiled fine wire, also known as a 'coiled coil.' For a 60-watt 120-volt lamp, the uncoiled length of the tungsten filament is usually , or sometimes krypton. Xenon gas, much more expensive, is used occasionally in small bulbs, such as those for flashlights. Since a filament breaking in a gas-filled bulb can form an electric arc, which may spread between the terminals and draw very heavy current, intentionally thin lead-in wires or more elaborate protection devices are therefore often used as fuses built into the light bulb. More nitrogen is used in higher-voltage lamps to reduce the possibility of arcing.

During ordinary operation, the tungsten of the filament evaporates; hotter, more-efficient filaments evaporate faster. Because of this, the lifetime of a filament lamp is a trade-off between efficiency and longevity. The trade-off is typically set to provide a lifetime of several hundred to 2,000 hours for lamps used for general illumination. Theatrical, photographic, and projection lamps may have a useful life of only a few hours, trading life expectancy for high output in a compact form. Long-life general service lamps have lower efficiency but are used where the cost of changing the lamp is high compared to the value of energy used.

Filament notching describes another phenomenon that limits the life of lamps. Lamps operated on direct current develop random stair-step irregularities on the filament surface, reducing the cross section and further increasing heat and evaporation of tungsten at these points. In small lamps operated on direct current, lifespan may be cut in half compared to AC operation. Different alloys of tungsten and rhenium can be used to counteract the effect.

If a light bulb envelope leaks, the hot tungsten filament reacts with air, yielding an aerosol of brown tungsten nitride, brown tungsten dioxide, violet-blue tungsten pentoxide, and yellow tungsten trioxide that then deposits on the nearby surfaces or the bulb interior.

Bulb blackening

In a conventional lamp, the evaporated tungsten eventually condenses on the inner surface of the glass envelope, darkening it. For bulbs that contain a vacuum, the darkening is uniform across the entire surface of the envelope. When a filling of inert gas is used, the evaporated tungsten is carried in the thermal convection currents of the gas, depositing preferentially on the uppermost part of the envelope and blackening just that portion of the envelope. An incandescent lamp that gives 93% or less of its initial light output at 75% of its rated life is regarded as unsatisfactory, when tested according to IEC Publication 60064. Light loss is due to filament evaporation and bulb blackening. Study of the problem of bulb blackening led to the discovery of the Edison effect, thermionic emission and invention of the vacuum tube.

A very small amount of water vapor inside a light bulb can significantly affect lamp darkening. Water vapor dissociates into hydrogen and oxygen at the hot filament. The oxygen attacks the tungsten metal, and the resulting tungsten oxide particles travel to cooler parts of the lamp. Hydrogen from water vapor reduces the oxide, reforming water vapor and continuing this water cycle.

Halogen lamps

. The two ring-shaped structures left and right are filament supports.]]

The halogen lamp reduces uneven evaporation of the filament and darkening of the envelope by filling the lamp with a halogen gas at low pressure, rather than an inert gas. The halogen cycle increases the lifetime of the bulb and prevents its darkening by redepositing tungsten from the inside of the bulb back onto the filament. The halogen lamp can operate its filament at a higher temperature than a standard gas filled lamp of similar power without loss of operating life.

Incandescent arc lamps

A variation of the incandescent lamp did not use a hot wire filament, but instead used an arc struck on a spherical bead electrode to produce heat. The electrode then became incandescent, with the arc contributing little to the light produced. Such lamps were used for projection or illumination for scientific instruments such as microscopes. These arc lamps ran on relatively low voltages and incorporated tungsten filaments to start ionization within the envelope. They provided the intense concentrated light of an arc lamp but were easier to operate. Developed around 1915, these lamps were displaced by mercury and xenon arc lamps.

Electrical characteristics

Incandescent lamps are nearly pure resistive loads with a power factor of 1. This means the actual power consumed (in watts) and the apparent power (in volt-amperes) are equal. The actual resistance of the filament is temperature-dependent. The cold resistance of tungsten-filament lamps is about 1/15 the hot-filament resistance when the lamp is operating. For example, a 100-watt, 120-volt lamp has a resistance of 144 ohms when lit, but the cold resistance is much lower (about 9.5 ohms). Since incandescent lamps are resistive loads, simple triac dimmers can be used to control brightness. Electrical contacts may carry a "T" rating symbol indicating that they are designed to control circuits with the high inrush current characteristic of tungsten lamps. For a 100-watt, 120-volt general-service lamp, the current stabilizes in about 0.10 seconds, and the lamp reaches 90% of its full brightness after about 0.13 seconds.

Power

Incandescent light bulbs are usually marketed according to the electrical power consumed. This is measured in watts and depends mainly on the resistance of the filament, which in turn depends mainly on the filament's length, thickness, and material. For two bulbs of the same voltage, type, color, and clarity, the higher-powered bulb gives more light.

The table shows the approximate typical output, in lumens, of standard incandescent light bulbs at various powers. Note that the lumen values for "soft white" bulbs will generally be slightly lower than for standard bulbs at the same power, while clear bulbs will usually emit a slightly brighter light than correspondingly powered standard bulbs.

Physical characteristics

Bulb shapes, sizes, and terms

Incandescent light bulbs come in a range of shapes and sizes. The names of the shapes may be slightly different in some regions. Many of these shapes have a designation consisting of one or more letters followed by one or more numbers, e.g. A55 or PAR38. The letters represent the shape of the bulb. The numbers represent the maximum diameter, either in of an inch, or in millimetres, depending on the shape and the region. For example, 63 mm reflectors are designated R63, but in the U.S. they are known as R20 (2.5 in). However, in both regions, a PAR38 reflector is known as PAR38. In Australia an R80 is 1 in in diameter.

Common shapes:

;General Service :Light emitted in (nearly) all directions. Available either clear or frosted. :Types: General (A), Mushroom

;High Wattage General Service :Lamps greater than 200 watts. :Types: Pear-shaped (PS)

;Decorative :lamps used in chandeliers, etc. :Types: candle (B), twisted candle, bent-tip candle (CA & BA), flame (F), fancy round (P), globe (G)

;Reflector (R): Reflective coating inside the bulb directs light forward. Flood types (FL) spread light. Spot types (SP) concentrate the light. Reflector (R) bulbs put approximately double the amount of light (foot-candles) on the front central area as General Service (A) of same wattage. :Types: Standard reflector (R), elliptical reflector (ER), crown-silvered

;Parabolic aluminized reflector (PAR): Parabolic aluminized reflector (PAR) bulbs control light more precisely. They produce about four times the concentrated light intensity of general service (A), and are used in recessed and track lighting. Weatherproof casings are available for outdoor spot and flood fixtures. :120 V sizes: PAR 16, 20, 30, 38, 56 and 64 :230 V sizes: Par 38, 56 and 64 :Available in numerous spot and flood beam spreads. Like all light bulbs, the number represents the diameter of the bulb in of an inch. Therefore, a PAR 16 is 2 in in diameter, a PAR 20 is 2.5 in in diameter, PAR 30 is 3.75 in and a PAR 38 is 4.75 in in diameter.

;Multifaceted reflector (MR)

;HIR: "HIR" is a GE designation for a lamp with an infrared reflective coating. Since less heat escapes, the filament burns hotter and more efficiently. The Osram designation for a similar coating is "IRC".

Lamp bases

Very small lamps may have the filament support wires extended through the base of the lamp, and can be directly soldered to a printed circuit board for connections. Some reflector-type lamps include screw terminals for connection of wires. Most lamps have metal bases that fit in a socket to support the lamp and conduct current to the filament wires. In the late 19th century, manufacturers introduced a multitude of incompatible lamp bases. General Electric introduced standard base sizes for tungsten incandescent lamps under the Mazda trademark in 1909. This standard was soon adopted across the United States, and the Mazda name was used by many manufacturers under license through 1945. Today most incandescent lamps for general lighting service use an Edison screw in candelabra, intermediate, or standard or mogul sizes, or double contact bayonet base. Bayonet base lamps are frequently used in automotive lamps to resist loosening due to vibration. A bipin base is often used for halogen or reflector lamps.

Lamp bases may be secured to the bulb with a cement, or by mechanical crimping to indentations molded into the glass bulb. Miniature lamps used for some automotive lamps or decorative lamps have wedge bases that have a partial plastic or even completely glass base. In this case, the wires wrap around to the outside of the bulb, where they press against the contacts in the socket. Miniature Christmas bulbs use a plastic wedge base as well.

Lamps intended for use in optical systems (such as film projectors, microscope illuminators, or stage lighting instruments have bases with alignment features so that the filament is positioned accurately within the optical system. A screw-base lamp may have a random orientation of the filament when the lamp is installed in the socket.

Voltage, light output, and lifetime

Incandescent lamps are very sensitive to changes in the supply voltage. These characteristics are of great practical and economic importance.

For a supply voltage V near the rated voltage of the lamp:

Light output is approximately proportional to V ^3.4

Power consumption is approximately proportional to V ^1.6

Lifetime is approximately proportional to V ⁻¹⁶

Color temperature is approximately proportional to V ^0.42 This means that a 5% reduction in operating voltage will more than double the life of the bulb, at the expense of reducing its light output by about 20%. This may be a very acceptable trade off for a light bulb that is in a difficult-to-access location (for example, traffic lights or fixtures hung from high ceilings). Long-life bulbs take advantage of this trade-off. Since the value of the electric power they consume is much more than the value of the lamp, general service lamps emphasize efficiency over long operating life. The objective is to minimize the cost of light, not the cost of lamps.

In flood lamps used for photographic lighting, the tradeoff is made in the other direction. Compared to general-service bulbs, for the same power, these bulbs produce far more light, and (more importantly) light at a higher color temperature, at the expense of greatly reduced life (which may be as short as two hours for a type P1 lamp). The upper limit to the temperature at which metal incandescent bulbs can operate is the melting point of the metal. Tungsten is the metal with the highest melting point, . A 50-hour-life projection bulb, for instance, is designed to operate only below that melting point. Such a lamp may achieve up to 22 lumens per watt, compared with 17.5 for a 750-hour general service lamp.

Radio interference

Incandescent bulbs do not produce significant radio frequency interference, a concern with many other light sources, such as most LED and fluorescent lamps.

See also

References

External links

Museum of Electric Lamp Technology

Howstuffworks - "How Light Bulbs Work"

Light Source Spectra 60 W-100 W Incandescent light bulb spectra

Halogen Light Bulbs – Base Identification

Light Bulbs - Lamps and Tubes - Lamp Bases Explained

The Perfection of the Electric Light Bulb – background and experiment

Incandescent Light Bulb's Bulb and Base Types Explained

Examples of how color temperature of light bulbs affect our surroundings

An brief article explaing the light bulb - "The Composition of the Light Bulb"

The history of the light bulb

BanTheBulb.Org energy efficiency campaign

Great light bulbs gallery

Category:Discovery and invention controversies Category:English inventions Category:Light sources Category:Thomas Edison

Name	Frank Zappa
Background	solo_singer
Birth name	Frank Vincent Zappa
Born	December 21, 1940Baltimore, Maryland, U.S.
Died	December 04, 1993Los Angeles, California, U.S.
Instrument	Guitar, vocals, bass, keyboards, drums, synclavier
Genre	Rock, jazz, classical, avant-garde
Occupation	Composer, musician, conductor, producer
Years active	1950s–1993
Label	Verve, Bizarre/Straight/DiscReet/Barking Pumpkin
Associated acts	The Mothers of InventionCaptain BeefheartSteve Vai
Url	Zappa.com
Notable instruments	Hagström VikingGibson ES-5 SwitchmasterGibson SGGibson Les PaulFender StratocasterSynclavier }}

Frank Vincent Zappa (; December 21, 1940 – December 4, 1993) was an American composer, singer-songwriter, electric guitarist, record producer, and film director. In a career spanning more than 30 years, Zappa wrote rock, jazz, electronic, orchestral, and musique concrète works. He also directed feature-length films and music videos, and designed album covers. Zappa produced almost all of the more than 60 albums he released with the band Mothers of Invention and as a solo artist.

While in his teens, he acquired a taste for percussion-based avant-garde composers such as Edgard Varèse and 1950s rhythm and blues music. He began writing classical music in high school, while at the same time playing drums in rhythm and blues bands—he later switched to electric guitar. He was a self-taught composer and performer, and his diverse musical influences led him to create music that was often impossible to categorize. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. His later albums shared this eclectic and experimental approach, irrespective of whether the fundamental format was one of rock, jazz or classical. He wrote the lyrics to all his songs, which—often humorously—reflected his iconoclastic view of established social and political processes, structures and movements. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education and the abolition of censorship.

Zappa was a highly productive and prolific artist and gained widespread critical acclaim. Many of his albums are considered essential in rock and jazz history. He is regarded as one of the most original guitarists and composers of his time. He also remains a major influence on musicians and composers. He had some commercial success, particularly in Europe, and for most of his career was able to work as an independent artist. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995 and received the Grammy Lifetime Achievement Award in 1997.

Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1964. In 1967, he married Adelaide Gail Sloatman, with whom he remained until his death from prostate cancer in 1993. They had four children: Moon Unit, Dweezil, Ahmet Emuukha Rodan and Diva Thin Muffin Pigeen. Gail Zappa manages the businesses of her late husband under the name the Zappa Family Trust.

Early life

Frank Zappa was born in Baltimore, Maryland, on December 21, 1940. His mother, Rose Marie (née Colimore), was of Italian and French descent, and his father, Francis Vincent Zappa, was a native of Partinico, Sicily and had Greek and Arab ancestry. Zappa was the eldest of four children, and had two brothers and a sister. The family moved often during Zappa's childhood because his father, a chemist and mathematician, had various jobs in the US defense industry. After a brief time in Florida in the mid-1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility at the Aberdeen Proving Ground. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the house in case of an accident. This had a profound effect on the young Zappa: references to germs, germ warfare and other aspects of the defense industry occur throughout his work.

During his childhood, Zappa was often sick, suffering from asthma, earaches and sinus problems. A doctor treated the latter by inserting a pellet of radium into each of Zappa's nostrils; little was known at the time about the potential dangers of being subjected to even small amounts of therapeutic radiation. Nasal imagery and references appear both in his music and lyrics, as well as in the collage album covers created by his long-time visual collaborator, Cal Schenkel.

Many of Zappa's childhood diseases may have arisen from exposure to mustard gas. Furthermore, his health worsened when he lived in the Baltimore area. They next moved to Monterey, California, where Zappa's father taught metallurgy at the Naval Postgraduate School. Shortly afterward, they moved to Claremont, then to El Cajon before finally moving to San Diego.

Musical influences

Zappa joined his first band, The Ramblers, at Mission Bay High School in San Diego. He was the band's drummer. About the same time his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection. R&B; singles were early purchases, starting a large collection he kept for the rest of his life. He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age 12, he had obtained a snare drum and began learning the basics of orchestral percussion. The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works.

At Antelope Valley High School, Zappa met Don Vliet (who later expanded his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B; records and influencing each other musically throughout their careers. Around the same time, Zappa started playing drums in a local band, The Blackouts. (In the 1970s and '80s, he invited Watson to perform on several albums.) Zappa considered soloing as the equivalent of forming "air sculptures", He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out! Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics. He left community college after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college.

Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After meeting Kathryn J. "Kay" Sherman during his short stay at Pomona College, they moved in together in Ontario, and were married December 28, 1960. Zappa worked for a short period in advertising. His sojourn in the commercial world was brief, but gave him valuable insights into how it works. Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos.

Early 1960s: Studio Z

Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of The Blackouts. Financially more rewarding were Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965). The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records. The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot. Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996).

During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by The Penguins (although only Cleve Duncan of the original group was featured). Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track. Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it. He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument. With Captain Beefheart, Zappa recorded some songs under the name of The Soots. They were rejected by Dot Records for having no "commercial potential"; a quote Zappa later used on the sleeve of Freak Out!

In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This set a work pattern that endured for most of his life. Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z. Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood. Zappa started performing as guitarist with a power trio, The Muthers, in local bars in order to support himself.

An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films. In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material. Zappa was charged with "conspiracy to commit pornography". This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended. His entrapment and brief imprisonment left a permanent mark, and was key in the formation of his anti-authoritarian stance. Zappa lost several recordings made at Studio Z in the process, as the police only returned 30 out of 80 hours of tape seized. Eventually, he could no longer afford to pay the rent on the studio and was evicted. Zappa managed to recover some of his possessions before the studio was torn down in 1966.

Late 1960s: The Mothers of Invention

In 1965, Zappa was approached by Ray Collins who asked him to join a local R&B; band, The Soul Giants, as a guitarist. The band was renamed The Mothers, coincidentally on Mother's Day. The group increased their bookings after beginning an association with manager Herb Cohen, while they gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts Riots. Wilson had earned acclaim as the producer for singer-songwriter Bob Dylan and the folk-rock act Simon & Garfunkel, and was notable as one of the few blacks working as a major label pop music producer at this time.

Wilson signed The Mothers to the Verve Records division of MGM Records, which had built up a strong reputation in the music industry for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially re-title themselves "The Mothers of Invention" because "Mother", in slang terminology, was short for "motherfucker"—a term that apart from its profane meanings can denote a skilled musician.

Debut album: Freak Out! (1966)

With Wilson credited as producer, The Mothers of Invention and a studio orchestra recorded the groundbreaking double album Freak Out! (1966). It mixed R&B;, doo-wop, musique concrète, and experimental sound collages that captured the "freak" subculture of Los Angeles at that time. The album immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America". The sound was raw, but the arrangements were sophisticated. (while recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music.) The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs. Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections to get the group the financial resources needed.

During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album. He labeled people on drugs "assholes in action", and he only tried cannabis a few times without any pleasure. He was a regular tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns. After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer. Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s. As Zappa put it, "[W]e're satirists, and we are out to satirize everything." At the same time, Zappa had recorded material for a self-produced album based on orchestral works to be released under his own name. Due to contractual problems, the recordings were shelved and only made ready for release late in 1967. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue to finalize what became his first solo album (under the name Francis Vincent Zappa It is an "incredible ambitious musical project", a "monument to John Cage", which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques.

New York period (1966–1968)

The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some US Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".

Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. The cover photo parodied that of The Beatles' Sgt Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a life-long collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.

Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa has noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song.

In New York, Zappa increasingly used tape editing as a compositional tool. A prime example is found on the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations)—reflecting the Greek "xeno" (alien or strange) and "chrono" (time).

Disbanding the original Mothers of Invention (1969)

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Zappa and the Mothers of Invention returned to Los Angeles in the summer of 1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to one on Woodrow Wilson Drive in the autumn. This was to be Zappa's home for the rest of his life. Despite being a success with fans in Europe, the Mothers of Invention were not faring well financially. Their first records were vocally oriented, but Zappa wrote more instrumental jazz and classical oriented music for the band's concerts, which confused audiences. Zappa felt that audiences failed to appreciate his "electrical chamber music". but also commented on the band members' lack of sufficient effort. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's preference for perfection over feelings. Others were irritated by "his autocratic ways", Several members would, however, play for Zappa in years to come. Remaining recordings with the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970).

After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969). It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. and had a major influence on the development of the jazz-rock fusion genre.

Rebirth of the Mothers and film making (1970)

Later in 1970, Zappa formed a new version of The Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of The Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie".

This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring The Mothers, The Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. co-director Palmer tried afterwards to have his name removed from the film. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process which allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract.

After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East - June 1971 and Just Another Band From L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances in which songs were used to build up sketches based on 200 Motels scenes as well as new situations often portraying the band members' sexual encounters on the road.

Accident, attack and their aftermath (1971–1972)

, Germany in 1971]] In December 1971, there were two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino. Immortalized in Deep Purple's song "Smoke on the Water", the event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II compilation. After a week's break, The Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member pushed Zappa off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. Musically, the albums were close to that of Hot Rats. Zappa began touring again in late 1972.

Top 10 album (1973–1975)

Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin). , Sydney, Australia, May 1973]] By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created DiscReet Records, also distributed by Warner Bros. Zappa continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high #10 on the Billboard pop album charts helped by the chart single "Don't Eat The Yellow Snow". Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)". A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 1973–75 band". They later became estranged for a period of years, but were in contact at the end of Zappa's life.

Business breakups and touring (1976–1979)

, seated left, during a 1975 concert]] Zappa's relationship with long-time manager Herb Cohen ended in 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner Bros., thereby bypassing DiscReet.

In the mid-1970s Zappa prepared material for Läther (pronounced "leather"), a four-LP project. Läther encapsulated all the aspects of Zappa's musical styles—rock tunes, orchestral works, complex instrumentals, and Zappa's own trademark distortion-drenched guitar solos. Wary of a quadruple-LP, Warner Bros. Records refused to release it. Zappa managed to get an agreement with Mercury-Phonogram, and test pressings were made targeted at a Halloween 1977 release, but Warner Bros. prevented the release by claiming rights over the material. Zappa responded by appearing on the Pasadena, California radio station KROQ, allowing them to broadcast Läther and encouraging listeners to make their own tape recordings. A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued major parts of Läther against Zappa's will as four individual albums with limited promotion. Läther was released posthumously in 1996.

Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. Zappa's song, "I'm the Slime", was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing.

Zappa's band at the time, with the additions of Ruth Underwood and a horn section (featuring Michael and Randy Brecker), performed during Christmas in New York, recordings of which appear on one of the albums released by Warner Bros., Zappa in New York (1978). It mixes intense instrumentals such as "The Black Page" and humorous songs like "Titties and Beer". The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure, radical changes of tempo and meter, and short, densely arranged passages.

Zappa in New York featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", which featured Don Pardo providing the opening narrative in the song. Like many songs on the album, it contained numerous sexual references, Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it. Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?" The remaining albums released by Warner Bros. Records without Zappa's consent were Studio Tan in 1978 and Sleep Dirt in 1979, which contained complex suites of instrumentally-based tunes recorded between 1973 and 1976, and which was overlooked in the midst of the legal problems. Also released by the label without the artist's consent was Orchestral Favorites in 1979, which featured recordings of a concert with orchestral music from 1975.

Zappa as an independent artist (1979)

Resolving the lawsuits successfully, Zappa ended the 1970s "stronger than ever", by releasing two of his most successful albums in 1979: the best selling album of his career, Sheik Yerbouti, and the "bona fide masterpiece", The double album Sheik Yerbouti was the first release on Zappa Records, and contained the Grammy-nominated single "Dancin' Fool", which reached #45 on the Billboard charts, and "Jewish Princess", which received attention when a Jewish lobby group, the Anti-Defamation League (ADL), attempted to prevent the song from receiving radio airplay due to its alleged anti-Semitic lyrics. The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the US, but it topped the charts in several European countries where English is not the primary language. The triple LP Joe's Garage featured lead singer Ike Willis as the voice of the character "Joe" in a rock opera about the danger of political systems,—and about the "strange relationship Americans have with sex and sexual frankness". "Lucille Has Messed My Mind Up", and the title track, as well as extended live-recorded guitar improvisations combined with a studio backup band dominated by drummer Vinnie Colaiuta (with whom Zappa had a particularly good musical rapport) adopting the xenochrony process. The album contains one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay".

On December 21, 1979, Zappa's movie Baby Snakes premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal". The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which later become available on the video The Dub Room Special (1982)). The movie did not do well in theatrical distribution, but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. The Zappa Family Trust released it on DVD, and it has been available since 2003. Miami Vice and The Ren and Stimpy Show.

1980s: Productive as ever

, Buffalo, New York, 1980. The concert was released in 2007 as Buffalo.]]

After spending most of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta). the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitar virtuoso Steve Vai, who joined Zappa's touring band in the fall of 1980.

The same year the double album You Are What You Is was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, The album included one complex instrumental, "Theme from the 3^rd Movement of Sinister Footwear", but focused mainly on rock songs with Zappa's sardonic social commentary—satirical lyrics targeted at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the US administration as well as their use of religion as a means of raising money. In 1981, Zappa also released three instrumental albums, Shut Up 'N Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through the CBS label due to popular demand. The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979–1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well". Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006.

From hit single to classical performances

In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at #32 on the Billboard charts). Most Americans who only knew Zappa from his few singles successes now thought of him as a person writing "novelty songs", even though the rest of the album contained highly challenging music. Zappa was irritated by this and never played the song live. Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes. Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far. In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice.

Synclavier

For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier as a compositional and performance tool. Even considering the complexity of the music he wrote, the Synclavier could realize anything he could dream up. The Synclavier could be programmed to play almost anything conceivable, to perfection: "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time". Zappa viewed the Synclavier and real-life musicians as separate. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled.

The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". Finally, in 1984, Zappa released Francesco Zappa, a Synclavier rendition of works by 18th century composer Francesco Zappa (no known relation), and Them or Us, a two-record set of heavily edited live and session pieces.

Senate testimony

, 1985]] On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization, co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. Zappa saw their activities as on a path towards censorship, and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry. In his prepared statement, he said:

The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine?

Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention. Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton, Al Gore (who claimed, at the hearing, to be a Zappa fan), and in an exchange with Florida Senator Paula Hawkins over what toys Zappa's children played with. Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. Zappa's passion for American politics was becoming a bigger part of his life. He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts. He even considered running for President of the United States.

Digital medium and last tour

Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings. He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital compact disc medium. Certain aspects of these re-issues were, however, criticized by some fans as being unfaithful to the original recordings. Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software). In 1989, Zappa considered his idea a "miserable flop".

Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis), The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's "Stairway to Heaven"), and Make a Jazz Noise Here (mostly instrumental and avant-garde music). Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6.

1990s: Classical music and death

In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel, and was asked to serve as consultant for the government on trade, cultural matters and tourism. Havel was a lifelong fan of Zappa who had large influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s (a Czech rock group that was imprisoned in 1976 took its name from Zappa's 1968 song "Plastic People"). Zappa enthusiastically agreed and began meeting with corporate officials interested in investing in Czechoslovakia. Within a few weeks, however, the US administration put pressure on the Czech government to withdraw the appointment. Havel made Zappa an unofficial cultural attaché instead. Zappa also planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses. Most of Zappa's projects came to a halt in 1990, when he was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for ten years and was considered inoperable.

In 1991, Zappa was chosen to be one of four featured composers at the world-acclaimed Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen and Alexander Knaifel). Zappa was approached by the German chamber ensemble, Ensemble Modern, which was interested in playing his music for the event. Although ill, Zappa invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. In addition to being satisfied with the ensemble's performances of his music, Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for the fall. It would become his last professional public appearance, as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". On Monday, December 6 his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday".

Legacy

Acclaim and honors

Zappa earned widespread critical acclaim in his lifetime and after his death. The 2004 Rolling Stone Album Guide writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable". Even though his work drew inspiration from many different genres, Zappa was seen establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite". On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity. Guitar Player Magazine devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music". Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s. He became friends with Zappa in the 1980s, and said "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music." Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that". Pierre Boulez stated in Musician Magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive." Many music scholars acknowledge Zappa as one of the most influential composers of his generation. As an electric guitarist, he has become highly regarded.

In 1994, jazz magazine Down Beat's critics poll placed Zappa in its Hall of Fame. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease". He received the Grammy Lifetime Achievement Award in 1997. In 2005, the US National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it". The same year, Rolling Stone magazine ranked him 71 on its list of the 100 Greatest Artists of All Time.

Artists influenced by Zappa

A number of notable musicians, bands and orchestras from diverse genres have been influenced by Frank Zappa's music. Rock artists like Alice Cooper, Primus, Fee Waybill of The Tubes all cite Zappa's influence, as do progressive rock artists like Henry Cow, Trey Anastasio of Phish, Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as The Beatles' Freak Out! Heavy rock and metal acts like Black Sabbath, Mike Portnoy, Warren DeMartini, Steve Vai, System of a Down, Clawfinger, and Devin Townsend acknowledge Zappa's inspiration. On the classical music scene, Tomas Ulrich, Meridian Arts Ensemble,, Ensemble Ambrosius and the Fireworks Ensemble regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers Bill Frisell and John Zorn are inspired by Zappa, as is funk legend George Clinton. Other artists whose work is affected by Zappa include new age pianist George Winston, electronic composer Bob Gluck, parody singer "Weird Al" Yankovic, and noise music artist Masami Akita of Merzbow.

References in arts and sciences

Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr. identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa". In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus. Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer". Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache". A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature". In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason".

In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank. The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brozek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia".

In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in the Lithuanian capital Vilnius. A replica was offered to the city of Baltimore in 2008, and on September 19, 2010—the twenty-fifth anniversary of Zappa's testimony to the US senate—a ceremony dedicating the replica was held. Speakers at the event included Gail Zappa and Baltimore Mayor Stephanie Rawlings-Blake. In 2002, a bronze bust was installed in German city Bad Doberan, since 1990 location of the Zappanale, an annual music festival celebrating Zappa. At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007. The same year, Baltimore's mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution.

Discography

;Studio Albums

Freak Out! (1966)

Absolutely Free (1967)

Lumpy Gravy (1977)

We're Only in It for the Money (1968)

Cruising with Ruben & the Jets (1968)

Uncle Meat (1969)

Hot Rats (1969)

Burnt Weeny Sandwich (1970)

Weasels Ripped My Flesh (1970)

Chunga's Revenge (1970)

200 Motels (1971)

Waka/Jawaka(1972)

The Grand Wazoo (1972)

Over-Nite Sensation (1973)

Apostrophe (') (1974)

One Size Fits All (1975)

Zoot Allures (1976)

Studio Tan (1978)

Sleep Dirt (1979)

Sheik Yerbouti (1979)

Orchestral Favorites (1979)

Joe's Garage (1979)

Shut Up 'n Play Yer Guitar (1981)

You Are What You Is (1981)

Ship Arriving Too Late to Save a Drowning Witch (1982)

The Man from Utopia (1983)

London Symphony Orchestra, Vol. 1 (1983)

(1984)

Them or Us (1984)

Thing-Fish(1984)

Francesco Zappa (1984)

Frank Zappa Meets the Mothers of Prevention (1985)

Jazz from Hell (1986)

London Symphony Orchestra, Vol. 2 (1987)

Guitar (1988)

; Posthumous Studio Releases

Civilization, Phaze III (1994)

The Lost Episodes (1996)

Läther (1996)

Have I Offended Someone? (1997)

Mystery Disc (1997)

Everything Is Healing Nicely (1998)

Joe's Corsage (2004)

QuAUDIOPHILIAc (2004)

Joe's Domage (2004)

Joe's XMASage (2005)

The Making Of Freak Out! Project/Object (2006)

The Frank Zappa AAAFNRAA Birthday Bundle (2006)

The Dub Room Special (2007)

The Lumpy Money Project/Object (2009)

Greasy Love Songs (2010)

;Live Albums

Fillmore East – June 1971 (1971)

Just Another Band From L.A. (1972)

Roxy & Elsewhere (1974)

Bongo Fury (1975)

Zappa in New York (1978)

Tinseltown Rebellion (1981)

Baby Snakes (1983)

Does Humor Belong in Music? (1986)

You Can't Do That on Stage Anymore, Vol. 1 (1988)

You Can't Do That on Stage Anymore, Vol. 2 (1988)

Broadway the Hard Way (1988)

You Can't Do That on Stage Anymore, Vol. 3 (1989)

The Best Band You Never Heard in Your Life (1991)

You Can't Do That on Stage Anymore, Vol. 4 (1991)

Make a Jazz Noise Here (1991)

Beat the Boots (1991)

Beat the Boots II (1992)

You Can't Do That on Stage Anymore, Vol. 5 (1992)

You Can't Do That on Stage Anymore, Vol. 6 (1992)

Playground Psychotics (1992)

Ahead of Their Time (1993)

The Yellow Shark (1993)

;Posthumous Live Releases

(1996)

(2002)

Halloween (2003)

Imaginary Diseases (2006)

Trance-Fusion (2006)

Buffalo (2007)

Wazoo (2007)

One Shot Deal (2008)

Joe's Menage (2008)

Beat the Boots III (2009)

Philly '76 (2009)

Hammersmith Odeon (2010)

References

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Notes

External links

The official Frank Zappa website

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